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Digital Sound Field Processing
What is it that makes live music so good? Todays advanced sound reproduction technology lets you get extremely close to the sound of a live performance, but chances are youll still notice something missing, the acoustic environment of the live concert hall. Extensive research into the exact nature of the sonic reflections that create the ambience of a large hall has made it possible for Yamaha engineers to bring you this same sound in your own listening room, so youll feel all the sound of a live concert. Whats more, our technicians, armed with sophisticated measuring equipment, have even made it possible to capture the acoustics of a variety of actual concert halls, jazz clubs, theaters, etc. from around the world, to allow you to accurately recreate any one of these live performance environments, all in your own home.
Dolby Pro Logic Surround
This unit employs a Dolby Pro Logic Surround decoder similar to professional Dolby Stereo decoders used in many movie theaters. By using the Dolby Pro Logic Surround decoder, you can experience the dramatic realism and impact of Dolby Surround movie theater sound in your own home. Dolby Pro Logic employs a four channel five speaker system. The Pro Logic Surround system divides the input signal into four levels: the left and right main channels, the center channel (used for dialog), and the rear surround sound channels (used for sound effects, background noise, and other ambient noises). The center channel allows listeners seated in even less-than-ideal positions to hear the dialog originating from the action on the screen while experiencing good stereo imaging. Dolby Surround is encoded on the sound track of pre-recorded video tapes, laser discs, and some TV/cable broadcasts. When you play a source encoded with Dolby Surround on this unit, the Dolby Pro Logic Surround decoder decodes the signal and distributes the surround-sound effects. This Dolby Pro Logic Surround Decoder employs a digital signal processing system. This system improves the stability of sound at each channel and crosstalk between channels, so that positioning of sounds around the room is more accurate compared with conventional analog signal processing systems. In addition, this unit features a built-in automatic input balance control. This always assures you the best performance without manual adjustment.
Dolby Digital (AC-3)
The built-in Dolby Digital (AC-3) Decoder leads you into a totally new sound experiences. Dolby Digital (AC-3) is a new generation of multi-channel digital audio technology, or the newest spatial sound processing format developed for 35 mm film-movies by employing a new kind of low bit-rate audio coding. Dolby Digital (AC-3) is a digital surround sound system that provides completely independent multi-channel audio to consumers. In multi-channel form, Dolby Digital (AC-3) provides five full range channels in what is sometimes referred to as a 3/2 configuration: three front channels (left, center and right), plus two surround channels. A sixth bass-only effect channel is also provided for output of LFE (low frequency effect), or low bass effects that are independent of other channels. This channel is counted as 0.1, thus giving rise to the term 5.1 channels in total. Compared to Dolby Pro Logic that is referred to a 3/1 system (left front, center, right front and just one surround channel), Dolby Digital (AC-3) features two surround channels, called stereo or split surrounds, each offering the same full range fidelity as the three front channels. Sound of wide dynamic range reproduced by the five full range channels presents listeners much excitement that has never been experienced before. Precise sound orientation by the discrete digital sound processing expands realism that the original movie possesses.
If you connect your video cassette recorder, LD player, video monitor, etc. to this unit, you can take advantage of this units capability to display program titles and information for various setting changes and adjustments on your video monitors screen. This information will be superimposed over the video image. If there is no video source connected or it is turned off, the information will be displayed over a blue colored background.
EFFECT LEVEL / FRONT 0dB
NOTE: The program titles and other information are also displayed on the display panel of this unit.
Setting Up Your Speaker System
This unit has been designed to provide the best sound field quality with a full seven-speaker system setup, using two extra pairs of effect speakers to generate the sound field plus one center speaker for dialog. We therefore recommend that you use a sevenspeaker setup. A four-speaker system using only one pair of effect speakers for the sound field will still provide impressive ambience and effects, however, and may be a good way to begin with this unit. You can always upgrade to the full seven speaker system later. In the 4 or 5 speaker system, the Digital Sound Field Processing is still performed, but the main speakers are used for both the main channels and the front effect channels.
Use of the Center Dialog Speaker Is Recommended
When playing back a source with the DSP programs No. 1 through No. 4, or when the Dolby Digital (AC-3) is decoded with any DSP program used, if the source contains center-channel signals, dialog, vocals etc. are output from the center channel. Therefore, if you want to maximize the performance of your Audio/Video home theater system, it is recommended that you use a center channel speaker. If for some reason it is not practical to use a center speaker, it is possible to enjoy movie viewing without it. Best results, however, are obtained with the full system.
Use of a Subwoofer Expands Your Sound Field
It is also possible to further expand your system with the addition of a subwoofer and amplifier. The use of a subwoofer is effective not only for reinforcing bass frequencies from any or all channels, but also for reproducing the LFE (low frequency effect) sound with high fidelity when playing back a source with the Dolby Digital (AC-3) decoded. You may wish to choose the convenience of a Yamaha Active Servo Processing Subwoofer System, which has its own built-in power amplifier.
Four Possible Types of Speaker System Configurations Recommended
4 Speaker System 5 Speaker System 6 Speaker System 7 Speaker System
Front effect speaker
CONTROLS & THEIR FUNCTIONS
G HI K L N O J M
* For control keys on the remote control unit, see pages 62 to 64.
1 POWER Switch
Turns this unit on and off. * When you press this switch to turn the power on, you will hear a click and a sound of the built-in fan rotating for a moment.
8 Master VOLUME Control
Simultaneously controls volume level at all outputs: front effect, main, rear effect, center, and subwoofer. (This does not affect REC OUT level.) * When the volume is decreased by pressing the MUTE key on the remote control unit, the indicator on the master VOLUME control flashes on and off.
2 Standby Indicator (Except U.S.A. and Canada models)
While the power of this unit is on, pressing the (SYSTEM POWER) OFF key on the remote control unit switches this unit to the standby mode. In this mode, the standby indicator is illuminated.
9 PHONES Jack
When you listen with headphones, connect the headphones to the PHONES jack. You can listen to the sound to be output from the main speakers through headphones. When listening with headphones privately, set both the SPEAKERS A and B switches to the OFF position and switch off the digital sound field processor (so that no DSP program name is illuminated on the display panel) by pressing the EFFECT switch.
3 Remote Control Sensor
Signals from the remote control unit are received here.
4 Display Panel
See pages 16 to 17.
5 DSP Program Selector Buttons
Select a DSP program. When a button is pressed, the name of selected program lights up on the display panel.
0 SPEAKERS Switches
Set the switch A or B (or both A and B) for the main speakers (connected to this unit) you will use to the ON position. Set the switch for the main speakers you will not use to the OFF position. Selected main speakers are shown by the lighting of SPEAKERS A and/or SPEAKERS B on the display panel.
6 Input Selector Buttons
Selects an input source that you want to listen to (and watch).
7 EFFECT Switch
Normally ON, this switch can be turned OFF to disable output from the center and effect speakers so that the sound becomes normal 2-channels. * Even if this switch is off, when the Dolby Digital (AC-3) is decoded, signals at all channels are distributed to the main channels and output from the main speakers.
A A/B/C/D/E Switch
Press this switch to select a desired group (AE) of preset stations.
B BASS EXTENSION Switch
When pressed inward (ON), boosts bass frequency response at the main left and right channels while maintaining overall tonal balance. If you do not have a subwoofer, the use of this switch will be effective to reinforce the bass frequencies.
C TONE BYPASS switch
When this switch is pressed inward (ON), the input signal does not pass through the tone (BASS and TREBLE) control circuitry so that it is unaffected by the tone control circuitry. Use this switch to obtain pure sound and to check the tone control setting. Press this switch to release it outward (OFF) to use the tone control circuitry.
J TUNING DOWN/UP Button
Used for tuning. Press the UP side to tune in to higher frequencies, and press the DOWN side to tune in to lower frequencies.
K EDIT Button
This button is used to exchange the places of two preset stations with each other.
D BASS and TREBLE Controls
Adjust low and high frequency response respectively for the main channels only.
L TUNING MODE (AUTO/MANL MONO) Switch
Press this switch to switch the tuning mode to automatic or manual. To select the automatic tuning mode, press this switch so that AUTO TUNING lights up on the display panel. To select the manual tuning mode, press this switch so that AUTO TUNING goes off.
E BALANCE Control
Adjusts the left and right output volume to the Main Speakers to compensate for sound imbalance caused by speaker positions or listening room conditions.
M DELAY/C/R/F/SWFR Switch
Whenever pressed, selects the item of changing delay time, center speaker output level, rear speaker output level, front effect speaker output level and subwoofer output level in turn. * Depending on a mode of this unit, the number of selections is reduced. For example, when the built-in digital sound field processor (including the Dolby Pro Logic Decoder or the Dolby Digital (AC-3) Decoder) is off, only the item for changing subwoofer output level can be selected.
PHONO FM AM
50kHz 9kHz I00kHz I0kHz
CD TV/DBS TV/DBS
AM ANT IN VCR 1 GND IN VCR 1 OUT
C OR D C D I20V 60Hz I00W MAX. TOTAL
To AC outlet
TAPE PB TAPE(MD) OUT
SEE INSTRUCTION MANUAL FOR CORRECT SETTING.
REC OUT PCM/ DIGITAL IN (AC3 DIGITAL IN) GND
IN VCR 2 OUT
IN VCR 2 OUT COUPLER MAIN CH PRE MAIN OUT IN SUB WOOFER OUTPUT FRONT EFFECT REAR
TV/DBS ROOM 2 OUT MONITOR OUT
PAL NTSC MONITOR OUT
ON OFF I0dB 0dB 5ch 7ch FRONT MAIN MIX LEVEL
H IJ KL
1 Antenna Connection Terminals
Connect the included indoor FM antenna to the FM ANT terminal and connect the included AM loop antenna to the AM ANT and GND terminals. To heighten safety and reduce interference, connect the GND terminal to a good earth ground. For improving reception quality, you can connect outdoor FM and/or AM antenna to these terminals (See pages 27 to 29 for details.)
7 Center Speaker Switch
Set to C + D when using two center speakers, or to C OR D when using only one center speaker.
8 FRONT EFFECT SPEAKERS Terminals
When using the built-in front effect-channel amplifier, connect the front effect speakers here.
9 REAR SPEAKERS Terminals
When using the built-in rear-channel amplifier, connect the rear speakers here.
2 FREQUENCY STEP Switch (General Model only)
Because the interstation frequency spacing differs in different areas, set this switch to the position suitable for the frequency spacing in your area. Before sliding this switch, disconnect the AC power plug of this unit from the AC outlet.
0 VOLTAGE SELECTOR (General Model only)
Be sure to set to the line voltage in your area before applying power. Consult your dealer if unsure of the correct setting.
J SUBWOOFER Jacks
When using one subwoofer, connect its amplifier input to either of these jacks. When using two subwoofers, connect their amplifiers to these jacks respectively. Frequencies below 90 Hz distributed from the main, center and/or rear channels are output to these jacks. Signals of LFE (low frequency effect) generated when the Dolby Digital (AC-3) is decoded are also output if they are assigned to these jacks.
F FRONT MIX Switch
Set to OFF (7ch) when setting up a full 7 or 6 speaker system, or to ON (5ch) when setting up a 5 or 4 speaker system.
G MAIN LEVEL Switch
Normally set to 0 dB. If desired, you can decrease the mainchannel output level at the MAIN SPEAKERS terminals by 10 dB by setting this switch to 10 dB.
K FRONT EFFECT OUTPUT Jacks
Front-channel line output. Can be connected to input jacks of an external stereo power amplifier driving the front effect speakers.
L REAR OUTPUT Jacks
Rear-channel line output. Can be connected to input jacks of an external stereo power amplifier driving the rear speakers.
M MAIN SPEAKERS Terminals
This unit is equipped with 2 sets of MAIN SPEAKERS terminals to allow you to connect 2 main speaker systems to this unit. When using this units built-in main-channel amplifier, connect the main speakers here. The jumper bars must be plugged in to connect the MAIN IN jacks to the PRE OUT jacks.
N IMPEDANCE SELECTOR Switch
Select the position whose requirements your speaker system meets.
O SWITCHED AC OUTLET(S)
You may plug other audio/video units into these sockets as long as their combined power consumption does not exceed the specified value shown. Switched means that these components are turned on and off by this units power switch.
REAR PANEL SWITCH AND CONTROL SETTINGS
There are several switches and controls on the rear panel that youll have to check before operating your system, and its a good idea to do it before you connect cables. Locate the MAIN LEVEL slide switch (G) and FRONT MIX slide switch (F). Make sure the MAIN LEVEL switch is set to 0 dB and the FRONT MIX switch is set to OFF for 7 or 6 speaker driving. In a 5 or 4 speaker system, set the FRONT MIX switch to ON. For General model only, set the NTSC/PAL switch (E) to the position corresponding to the standard which your video equipment employs and set the FREQUENCY STEP switch (2) to the position suitable for the frequency spacing in your area. For the setting of IMPEDANCE SELECTOR switch (N), see page 34. For the setting of the center speaker switch (7), see page 32.
GENERAL INSTRUCTIONS FOR CONNECTIONS
Make sure that you have the left (L) and right (R) channels correctly connected. That means that jacks marked L on this unit must be connected to jacks marked L on other units. Likewise with the R jacks. This is easy if you remember to always use the red plug for the R jacks and the white plug for the L jacks. For connections with audio/video source equipment, use RCA type pin plug cables with the exception described later.
ANALOG OUT OPTICAL DIGITAL OUT COAXIAL DIGITAL OUT
FREQUENCY STEP AUDIO SIGNAL AUDIO SIGNAL
IN VCR 1
TV/DBS ROOM 2 OUT
COAXIAL DIGITAL OUT
NOTE: All digital audio signal input jacks are applicable to the sampling frequency of 32 kHz, 44.1 kHz and 48 kHz.
Notes on connecting with an LD player equipped with an AC-3 RF output
If your LD player has AC-3 RF signal output jack and no digital signal output jack for AC-3 discrete audio signals, connect the AC3 RF signal output jack to this units OPTICAL (or COAXIAL) digital signal input jack by using an RF demodulator (separate purchase). First, connect the AC-3 RF signal output jack of the LD player to the AC-3 RF signal input jack of the RF demodulator. Next, connect the optical (or coaxial) digital signal output jack of the RF demodulator to the OPTICAL (or COAXIAL) digital signal input jack of this unit. This connection is necessary for inputting audio signals encoded with the Dolby Digital (AC-3) on the LD player to this unit. It is also necessary to connect the LD player to this units analog audio signal input jacks regardless of the AC-3 RF signal connection, for playing back an LD source with the Dolby Pro Logic Surround decoded or in normal stereo (or monaural). If desired, you can also connect the digital signal output jack (for 2-channel audio signals) of the LD player to this unit. If you will do so, connect it to the COAXIAL digital signal input jack of this unit, and connect the RF demodulator to the OPTICAL digital signal input jack of this unit. By this connection, if the input mode of the DVD/LD source is in AUTO, you can enjoy listening to sounds decoded with the Dolby Digital (AC-3) when you play a disc encoded with the Dolby Digital (AC-3) though signals are input to both OPTICAL and COAXIAL digital signal input jacks of this unit simultaneously (because signals input to the OPTICAL jack take priority of signals input to the COAXIAL jack). See page 47 for details about switching the input mode.
NOTES q If, for example, you play a CD on the LD player (which can play a CD also), there is no input to the OPTICAL jack, so the signals input to the COAXIAL jack take priority. In this case, switch off the RF demodulator to listen to CD sound surely. However, if your RF demodulator is the Yamaha model APD-1, you do not have to switch it off. q When you want to play a source encoded with the Dolby Digital (AC-3) without decoding the Dolby Digital (AC-3), you must switch off the power to the RF demodulator.
Optional outdoor AM antenna
In steel buildings or at a great distance from the transmitter, it may be necessary to install an outside long wire antenna.
300-ohm feeder cable
75-ohm coaxial cable
GND terminal For maximum safety and minimum interference, connect the GND terminal to a good earth ground. A good earth ground is a metal stake driven into moist earth.
Use a 75-ohm/300-ohm antenna adapter (not included) or a 75-ohm antenna adapter (not included) for connections.
300-ohm feeder cable 75-ohm coaxial cable
75-ohm/300-ohm antenna adapter
75-ohm antenna adapter
CONNECTING SPEAKER SYSTEMS
Connect the SPEAKERS terminals to your speakers with wire of the proper gauge, cut as short as possible. If the connections are faulty, no sound will be heard from the speakers. Make sure that the polarity of the speaker wires is correct, that is, + and markings are observed. If these wires are reversed, the sound will be unnatural and will lack bass. Do not let the bare speaker wires touch each other or any other metal part as this could damage this unit and/or speakers. NOTE: Use speakers with the specified impedance shown on the rear of this unit. Red: positive (+) Black: negative ()
NOTE: Banana Plug connections are also possible (except Singapore model). Simply insert the Banana Plug connector into the corresponding terminal.
Unscrew the knob. Insert the bare wire.
[Remove approx. 5mm (1/4) insulation from the speaker wires.] Tighten the knob and secure the wire.
CONNECTING THE MAIN SPEAKERS TO THIS UNIT
One or two sets of MAIN speakers can be connected to this unit. If you use two sets of MAIN speakers, connect one set to the MAIN SPEAKERS A terminals, and connect another set to the B terminals. If you use only one set of MAIN speakers, connect them to either the MAIN SPEAKERS A or B terminals. Make sure that the jumper bars between the PRE OUT and MAIN IN jacks on the rear panel are in place. It is also possible to use an external power amplifier if more power is desired. In this case, remove the jumper bars and connect the PRE OUT jacks to the INPUT jacks of a stereo power amplifier with a stereo pin cablemaking sure to connect the left and right channels correctly. Connect the MAIN speakers to the speaker output terminals of the power amplifier. Set the SPEAKERS switch A or B (or both A and B) on the front panel corresponding to the main speakers you will use to the ON position. Set the switch for the main speakers you will not use to the OFF position. Selected main speakers are shown by the lighting of SPEAKERS A and/or SPEAKERS B on the display panel.
DIGITAL PCM AC3
In addition, for the program No. 1, 2 and 3, the name of the program on the display panel or the monitor screen will change according to the type of decoding. (See pages 5657 for details.)
NOTE: If the input signals of source encoded with the Dolby Digital (AC-3) are in 2-channels only, the sound processing for them is similar to that for analog or PCM audio signals.
CANCELING THE EFFECT SOUND
The EFFECT switch on the front panel and the EFFECT ON/OFF key on the remote control unit make it simple to compare the normal stereo sound with the fully processed effect sound. To cancel the effect sound and monitor only the main sound, press the EFFECT ON/OFF key or the EFFECT switch. Press the EFFECT ON/OFF key or the EFFECT switch a second time to restore normal operation.
NOTES If the effect sound is canceled when signals encoded with the Dolby Digital (AC-3) are input to this unit, signals of all channels are mixed and are output from the main speakers. If the EFFECT switch or the EFFECT ON/OFF key is pressed to turn effect sounds OFF when the Dolby Digital (AC-3) is decoded, it may happen that sound is output faintly or not output normally depending on a source. In that case, press the EFFECT switch or the EFFECT ON/OFF key to turn effect sounds ON, or use input signals not encoded with the Dolby Digital (AC-3).
DESCRIPTIONS OF THE SOUND FIELD PROGRAMS
The following list gives brief descriptions of the sound fields produced by each of the DSP programs. Keep in mind that most of these are precise digital recreations of actual acoustic environments. The data for them was recorded at the locations described using sophisticated sound field measurement equipment. * The channel level balance between the left rear speaker and the right rear speaker may vary depending on the sound field you are listening to. This is due to the fact that most of these sound field recreations are actual acoustic environments. 1. DOLBY PRO LOGIC When the input signal is analog or PCM audio ( Speaker output: main, center, rear DOLBY DIGITAL When the input signal is Dolby Digital ( Speaker output: main, center, rear
Whenever pressed, the selection changes as follows.
DELAY TIME CENTER LEVEL R SUR. LEVEL L SUR. LEVEL FRONT LEVEL SWFR LEVEL
(Delay time) (Center speaker output level) (Right rear speaker output level) (Left rear speaker output level) (Front effect speaker output level) (Subwoofer output level)
* Depending on a mode of this unit, the number of selections is reduced. * Pressing the key on the remote control unit changes the selection in the reverse order. 3. Adjust its level.
2. Press once or more until the name of item on which you will make an adjustment appears on the display panel.
4. Repeat step 2 and 3 to make adjustments on other items.
Adjusting delay time
You can adjust the time difference between the beginning of the sound from the main speakers and the beginning of the effect sound from the rear or front effect speakers. The larger the value, the later the effect sound is generated. This adjustment can be made to all programs individually.
Program 1. DOLBY PRO LOGIC DOLBY DIGITAL 2. PRO LOGIC ENHANCED DOLBY DIGITAL ENHANCED 3. MOVIE THEATER DIGITAL MOVIE THEATER 4. TV SPORTS 5. STADIUM 6. DISCO 7. ROCK CONCERT 8. JAZZ CLUB 9. CHURCH 10. CONCERT HALL Control range (ms) 15 to to to to to to to to to to to to to 50
Adjusting output level of the front effect, center, right rear and left rear speakers, and subwoofer
If desired, you can adjust the sound output level of the each speaker even if the output level is already set in SPEAKER BALANCE ADJUSTMENT on pages 41 to 42.
Speakers FRONT CENTER RIGHT SURROUND LEFT SURROUND SUBWOOFER Control range (dB) MIN, 20 to +10 MIN, 20 to +10 MIN, 20 to +10 MIN, 20 to +10 MIN, 20 to 0 Preset value 0
NOTES Adding too much delay will cause an unnatural effect with some sources. When the /+ button is pressed, sound is momentarily interrupted.
NOTES Output level of the front effect speakers cannot be adjusted when the program DOLBY PRO LOGIC (DOLBY DIGITAL) is selected. Output level of the center speaker cannot be adjusted when the program STADIUM, DISCO, ROCK CONCERT, JAZZ CLUB, CHURCH or CONCERT HALL is selected, and the input signal is analog, PCM audio or encoded with the Dolby Digital (AC-3) in 2-channels. Once the output level is adjusted, the level value will be the same in all the digital sound field programs.
NOTE The values of the delay time and each speaker level you set the last time will remain memorized even when the power of this unit is off. However, if the power cord is kept disconnected for more than one week, these values will be automatically changed back to the original factory settings.
SETTING THE SLEEP TIMER
If you use the SLEEP timer of this unit, you can make this unit turn off automatically. When you are going to sleep while enjoying a broadcast or other desired input source, this timer function is helpful. NOTES The SLEEP timer can be controlled only with the remote control unit. The components on which the SLEEP timer is effective are the sources connected to the SWITCHED AC OUTLET(S) on the rear panel of this unit. To set the SLEEP time 1. Press the SLEEP key.
2. The unit will be turned off automatically at the selected SLEEP time.
To cancel the selected SLEEP time Press the SLEEP key once or more so that SLEEP OFF appears on the display panel. (It will soon disappear and the SLEEP indicator will go off from the display panel.)
Indicates the SLEEP time.
NOTE The SLEEP timer setting can also be canceled by turning off the power with the POWER switch or disconnecting the power plug of this unit from the AC outlet.
Press once or more to select the desired SLEEP time. Whenever the SLEEP key is pressed, the SLEEP time will change as follows.
The SLEEP timer is off (OFF). (The state before the SLEEP key is pressed.)
After a while, the display returns to the indication before the SLEEP timer is set.
REMOTE CONTROL UNIT
BASIC OPERATIONS (When the lid is open)
TRANSMIT /LEARN CLEAR LEARN MACRO
A STOP DIR B DISC
The remote control unit provided with this unit is designed to control all the most commonly used functions of this unit. If the CD player, tape deck, LD player etc. connected to this unit are YAMAHA components designed for remote control compatibility, then this remote control unit will also control various functions of each component. * For basic operations, use the remote control unit with the lid open.
1 Tape deck keys
DIGITAL/ MOVIE PRO LOGIC ENHANCED THEATER 1 TV SPORTS 4 ROCK 7 HALL STADIUM DISCO 6 PHONO V-AUX
JAZZ CLUB CHURCH 8 +9 TEST EFFECT ON/OFF
Controls tape deck. (The A/B/C switch (G) should be set to the A position.) * DIR A, B and A/B are applicable only to double cassette tape deck. * For a single cassette deck with automatic reverse function, pressing DIR A will reverse the direction of tape running.
SP A TIME/LEVEL SP B SET MENU
2 CD/LD player keys
Controls compact disc player or LD player. (To control compact disc player, set the A/B/C switch (G) to the A position. To control LD player, set the A/B/C switch (G) to the C position.) * DISC is applicable only to compact disc changer. * STOP is applicable only to LD player.
3 Tuner keys
Conversely, when an OPERATION CONTROL key is pressed, all of the available OPERATION CONTROL keys and the currently selected input selector key light up.
MACRO OPERATIONS (When the lid is closed)
Macro is a command which defines a sequence of several operations. The keys shown in the right illustrations (as preset macro keys) are also preset with macros, in addition to individual functions. Each macro key is preset so that simply pressing it alone will carry out several functions of other keys on this remote control unit sequentially. (To know what key functions are sequentially carried out by pressing each preset macro key, see the next page.) Macros can be used only when the lid is closed and the MACRO switch is set to SLOW or QUICK. (If OFF is selected, no macro will function even if the lid is closed.) Preset macro keys are originally preset with macros. If you prefer, however, you can change the contents of a macro key by storing a desired series of functions on it. You can store up to seven functions onto a macro key. (See page 75 for the learning method.)
Preset macro keys
TRANSMIT /LEARN TRANSMIT CLEAR LEARN MACRO
A DIR B DISC STOP
TUNER TUNER VCR 1
VCR 2 VCR 2
DIGITAL/ MOVIE PRO LOGIC ENHANCED THEATER 1 V-AUX TV SPORTS 4 PHONO ROCK 7 EFFECT OPERATION CONTROL
2 STADIUM 5
3 DISCO 6
Setting the MACRO switch OFF: In this position, no macro will function even if the lid of remote control unit is closed. QUICK: In this position, when a macro key is pressed, each command is transmitted at 0.5 second intervals. SLOW: In this position, when a macro key is pressed, each command is transmitted at 3 second intervals.
Lid is closed. (Set the MACRO switch to QUICK or SLOW.)
Preset macro keys and the key functions which they carry out sequentially are as follows. (Also, refer to the table on page 65.)
Function of the key (and area) which operates when a macro key is pressed Macro key 1st (Turning the power of this unit on) 2nd (Selecting an input source)
3rd (Playing a source) on area A of keys 1 on area A of keys 2 on area B of keys 1 on area B of keys 2 on area C of keys 1 on area C of keys 2
Function of the key which operates when a macro key is pressed Macro key
NOTES A key in which no function is stored will carry out no command. If it occurs that this unit will not receive the second command because the internal operation of the first command takes a long time, set the MACRO switch to the SLOW position, or add no function or repeat the same command between the first command and the next command. If you will program the power on/off switching function of TV, VCR, etc. as part of a macro sequence, note that it switches the current mode to the other (on to off, or off to on). For example, when you press the macro key, if the power of TV, VCR, etc. is already on, the power will be turned off even though you may not want it to do so. Once you press a macro key, this unit will not receive the command of another key (even if it is pressed) until this unit finishes carrying out all commands of the macro key. Take notice of this especially when the MACRO switch is in the SLOW position. Once you press a macro key, you must keep the remote control unit directed at the main units remote control sensor until the remote control unit finishes transmitting all command signals of the macro key. You can use the OPERATION CONTROL keys also while using the macro functions.
2 Press and hold the CLEAR button using the point of a mechanical pencil, etc.
3 Holding the CLEAR button pressed, press and hold the key whose function you want to clear until the indicator flashes 3 times.
Memory back-up All of the learned functions will be retained while you replace the batteries. However, if no batteries are installed for a few hours, the learned functions will be erased and will have to be learned again.
To clear two or more functions sequentially, do not release the CLEAR button pressed, and repeat this step.
NOTE If you clear a learned function of a key, the originally preset function of the key is restored (except the keys which are originally preset with no function.)
To Clear All Learned Functions
1 Select the kind of key functions all of which you want to clear by using the MACRO switch on the side panel of the remote control unit.
SLOW QUICK OFF
3 Press and hold the CLEAR button again. While holding the CLEAR button pressed, press and hold the MASTER VOLUME and keys simultaneously until the indicator flashes 7 times.
Select this position if you want to clear all of the learned functions except macros. QUICK: Select this position if you want to clear all of the macros you made only. SLOW: Select this position if you want to clear all of the learned functions including macros.
2 Press the CLEAR button using the point of a mechanical pencil, etc.
* If one of the following operation is made after you press the CLEAR button, the TRANSMIT/LEARN indicator flashes rapidly and the current mode is canceled. If this occurs, press the CLEAR button again. MACRO switch is switched to another position. Another key is pressed. There is no operation for about 30 seconds.
PROBLEM Power does not come on. The unit turns off suddenly soon after the power is turned on. Hum. No sound. POSSIBLE CAUSE AC cord not properly plugged in. The IMPEDANCE SELECTOR switch on the rear panel is not set to the upper or the lower end exactly. Bad cable connection. Bad or incorrect input connection. Incorrect input source selection. Digital signals other than PCM audio or the Dolby Digital (AC-3) encoded signals which this unit cannot reproduce are input to this unit by playing a CD-ROM etc. The EFFECT switch is set off. A Dolby Surround decoding program is being used with material not encoded with Dolby Surround. The FRONT MIX switch is set to ON. The sound field program No. 1 DOLBY PRO LOGIC (DOLBY DIGITAL) is selected. The CENTER SPEAKERS mode is in PHNTM. One of the sound field programs No. 5 to No. 10 is selected when the input signal of source is 2channel stereo (analog/PCM). The input signals of source encoded with the Dolby Digital (AC-3) do not have center channel signals. The LFE/BASS OUT mode is in the SWFR or BOTH position, though your system does not include a subwoofer. Output mode selection for each channel (MAIN, CENTER or REAR) is improper. The protection circuit has activated because of short circuit etc. The power to the component connected to the REC OUT jacks of this unit is off. It is not possible to record the sound field on a tape deck connected to this units TAPE REC OUT jacks. WHAT TO DO Carefully plug AC plug into outlet. Set the switch to the upper or the lower end exactly.
Recording Characteristics (Audiana); C. G. McProud; II Jan., 20. Recording and Fine-Groove Technique; H. E. Hoys; Sept., 11. Recording, Magnetic Art of Tape Recording. The; Joel Tall; I May, 13; II June, 20; III July, 22; IV Aug., 16; V Sept., 15. of Meter Data; R. E. Zenner; Feb., 16.
in Motion Pictures; M. Rettinger; I March, 9; II April, 18. New Technique for Reducing Distortion in Sound Recording; Caldwell P. Smith; April, 28. Performance plus Economy Tape Recorder; Jay Blakesley; Nov., 20. Reverberation-Time Calculation, Simplified (Chart); Lewis S. Goodfriend; May, 20.
Speech Communication Conference at M. I. T.; Leo L. Beranek; July, 21. Stereophonic Reproduction; Tenny Lode; Jan., 15. Transformers Determining Unknown Impedances in ; L. H. Hippe; Dec., 21. Optimum Use of Nickel Alloy Steels in Low-Level ; L. W. Howard; Oct., 20.
Acoustics Acoustical Balance in Recording, Eddison von Ottenfeld. Aug., 23. Audio Engineering; Society Papers AES Standard Playback Curve. Jan., 22. Direct Radiator Loudspeaker Enclosures, Harry P. Olson. Nov., 34. Effect of Hound Intensity Level on Judgment of "Tonal Range" and "Volume Level," Stephen E. Stuntz. June, 17. Loudspeaker Damping. Albert Preisman. I, Mar., 22; II, Apr., 24. The Measurement of Audio Volume, Howard A. Chinn. I, Sept., 26, II, Oct., 24. New Method of Measuring and Analyzing Inter-modulation, C. J. LeBel. July, 18. Toward a More Realistic Audio, Ross H. Snyder. Aug., 24. Amplifiers Analysis of Split-load Phase Inverter, George Ellis Jones, Jr. Dec., 16. 15-Watt Direct-Coupled Amplifier, William B. Fraser. Apr., 15. How Far Can I Mismatch? Saul J. White, Jan., 15. The Interview Amplifier, C. G. McProud. Dec., 13. More About Mismatching, Robert M. Mitchell. Oct., 16. Musician's Amplifier Senior, David Sarser and Melvin C. Sprinkle. Jan., 13. New Approach to Loudspeaker Damping, Warner Clements. Aug., 20. Positive Feedback for A-F Curve Shaping, L. P. Haner; I, Feb., 16; 11, Mar., 15. Something New in Remote Amplifiers, Robert S. Houston. Nov., 18. Space-Charge-Grid Amplifier, Melvin C. Sprinkle, Sept., 15. Studio-Controlled Remote Amplifier, Robert S. Houston. Sept., 24. Survey of Audio-Frequency Power-Amplifier Circuits, Peter G. Sulzer. May, 15. An Ultra-Linear Amplifier, David Hafier and Herbert I. Keroes. Nov., 15. Versatile Amplifier from Junk-Box Parts, Curtiss R. Schafer. June, 22. A - M Radio Brief Review of Diode Detectors, Rudolph L. Kuehn. June, 11. Characteristics of AM Detectors, W. E. Babcock. July, 9. Receiver Bandwidth and its Measurement, Howard T. Sterling and Alan Sobel. Jan., 18. Attenuators Simple Attenuator Calculations, Jack D. Gallagher. Oct., 20. Terminal Impedance of an Attenuator, Herbert I. Keroes. I, Jan., 20; II, Feb., 22. Audio AudioBig Business, Leon Wortman. Oct., 17. Audio in EnglandThe 1951 Picture, H. A. Hartley. Oct., 40. A u d i o Techniques Scratch Kilter with Continuously Variable Cut-Off Point, Charles J. Levin, Nov., 6. Tape Recorder Remote Control, Raymond Lucia, Nov., 76. Broadcasting Broadcast. A u d i o Trends, W. E. Stewart. Nov., 22. Continuously Variable Equalizer, Wentworth D. Fling. Mar., 16. New AM-FM-TV Studio Consolette, P. W. Wildow and G. A. Singer. Sept., 20. New Broadcast Lightweight Pickup and Tone Arm, L. J. Anderson and C. R. Johnson. Mar., 18. New Professional Tape Recorder, W. E. Stewart. Apr., 21. Something New in Remote Amplifiers, Robert S. Houston. Nov., 18. Studio-Controlled Remote Amplifier, Robert S. Houston. Sept., 24. Components Harmonic Distortion in Iron-Core Transformers, R. H. Eastop and T. Williams. Apr., 18. The Measurement of Audio Volume, Howard A. Chinn. I, Sept., 26; II, Oct., 24. Survey of European Sound Apparatus, John K. Hilliard. Aug., 32. Controls Simple Preamplifier and Tone-Control Unit, David H. O'Brien. Nov., 20. Tape Recorder Remote Control, Raymond Lucia. Nov., 76. Two-Tap Brass and Treble Compensated Volume Control, William O. Brooks. Aug., 15. Conventions AES Third Annual Convention Program. Nov., 32. The Audio Fair Review. Dec., 24. WhodathunkitAE Was Born in California. Aug., 17. Decibels Adding Decibel-Expressed Quantities, Alfred L. DiMattia and Lloyd R. Jones. July, 15. Defense Effort Audio in the Armed Forces, Lt. George Marakas. Aug., 16. Ultrasonics in the Loran Trainer, Philip D. Stahl. I, May, 13; II, June, 14. Distortion Expressions for the Reduction of Distortion and Output Impedance in Terms of db of Feedback, William J. Kessler and Sydney E. Smith. Oct., 13. Harmonic Distortion in Iron-Core Transformers. R. H. Eastop and T. Williams. Apr., 18. Equalizer, Continuously Variable, Wentworth D. Fling. Mar., 16. Equivalent Circuits to Simplify Feedback Design, Richard S. Burwen. Oct., 11. Exhibits Audio Fair Review. Dec., 24. I.R.E. Show Review. May, 19. Feedback Expressions for the Reduction of Distortion and Output Impedance in Terms of db of Feedback, William J Kessler and Sydney E. Smith. Oct., 13. Positive Feedback for A-F Curve Shaping, L. P. Haner. I, Feb., 16; II, Mar., 15. Loudspeaker Damping by the Use of Inverse Feedback, J. P. Wentworth. Dec., 21. Filters Effective Frequency Rejection Circuit, R. B. Nevin. Feb., 20. Filter Design Simplified, Berthold Sheffield. I, Mar., 13; II, May, 26. Scratch Filter with Continuously Variable Cut-off Point, Charles J. Levin. Nov., 6. Intermodulation Intermodulation Testing, Pierce J. Aubry. Dec., 22. New Method of Measuring and Analyzing Intermodulation, C. J. LeBel. July, 18. Loudspeakers Design Data for a Bass-Reflex Cabinet, J. A. Youngmark. Sept., 18. Design Elements for Improved Bass Response in Loudspeaker Systems, Howard T. Souther. May, 16. Direct-Radiator Loudspeaker Enclosures, Harry F. Olson. Nov., 34. Distributed Source Horn, Bob Hugh Smith. Jan., 16. Efficiency of Direct-Radiator Loudspeakers, Vincent Salmon. Aug., 13. Exponential Baffles for Custom Installations, George Augspurger. Nov., 24. How Far Can I Mismatch? Saul J. White. Jan., 15. Loudspeaker Damping, Albert Preisman. I, Mar., 22; II, Apr., 24. Loudspeaker Damping by the Use of Inverse Feedback, J. P. Wentworth. Dec., 21. Loudspeaker Enclosures, Daniel J. Plach and Philip B. Williams. July, 12. More About Mismatching, Robert M. Mitchell. Oct., 16. New Approach to Loudspeaker Damping, Warner Clements. Aug., 20. R-J Speaker Enclosure, Frank Robbins and William Joseph. Dec., 17. Measurements Intermodulation Testing, Pierce J. Aubry. Dec., 22. New Method of Measuring and Analyzing Intermodulation, C. J. LeBel. July, 18. Square-Wave Testing Simplified, Harold E. Bryan. Oct, 14. Microphones Home-Made Parabolic Microphone, George H. Floyd. Feb., 13. Networks, Constant-Resistance Dividing, Bob Hugh Smith. Aug., 18. Phase Inverter, Analysis of Split-Load, George Ellis Jones, Jr. Dec., 16. Phonograph Records AES Standard Playback Curve. Jan., 22. Technique of Record Processing, Lewis S. Goodfriend. Oct., 21. Phonograph Reproduction AES Standard Playback Curve. Jan., 22. Effective Frequency Rejection Circuit, R. B. Nevin. Feb., 20. New Broadcast Lightweight Pickup and Tone Arm, L. J. Anderson and C. R. Johnson. Mar., 18. New Danish Playback Machine, Svend Anker-Rasmussen. Sept., 40. Phono Facts, Maximilian Wiel. June, 20. Preamplifiers D.C. Heater Supply for Low-level Amplifiers, L. B. Hedge. June, 13. 15-Watt Direct-Coupled Amplifier, William B. Fraser. Apr., 15. Mixer and Preamplifier for the Recording Enthusiast, G. H. Floyd. July, 16. Simple Preamplifier and Tone-Control Unit, David H. O'Brien. Nov., 20. Psychoacoustics Effect of Sound Intensity Level on Judgment of "Tonal Range" and "Volume Level," Stephen E. Stuntz. June, 17. Listening Room Design, Vern Yeich. Nov., 28. The Measurement of Audio Volume, Howard A. Chinn. I, Sept., 26; II, Oct., 24. Music and Mass Production, Jerome Goodman. Sept., 23. Toward a More Realistic Audio, Ross H. Snyder. Aug., 24. Radio Receivers Brief Review of Diode Detectors, Rudolph
IMPEDANCE MATCHING Why match impedances? Paul Penfield, Jr. Apr. 32.
LAW Employer rights in employee inventions. Albert W. Gray. Oct. 50. Price discrimination in wholesale and retail sales. Albert W. Gray. Feb. 60. Trinity of the patent lawinvention, novelty, and utility; Albert W. Gray. Mar. 44.
LOUDSPEAKERS Compact Ultra-Linear speakers for stereo; Victor Brociner. Aug. 38. Compass-1a new loudspeaker design; Milton D. Thai berg. Apr. 34. High-fidelity buss cone loudspeakers; A. B. Sarkar. Dec. 28. Improvement in "air suspension" speaker enclosures with tube venting; Philip B. Williams and James F. Novak. Nov. 18. New high-frequency speaker; Edgar Villchur. Oct. 38. Two custom-built corner horn enclosures; Laurent Gagnon. Feb. 20. MEASUREMENTS Measurement of amplifier internal impedance; W. H. Anderson. Sep. 22. Output power measurements; Mannie Horowitz. Dec. 38. Simple transistor tester; Richard Burwen. May 30. Stabilized variable-sensitivity tuning meter; Ronald L. Ives. June 20.
VU meter in tape recording; Herman Burstein and Henry C. Pollak. Dec. 17. SHIELDING Spiral steel shielding for audio circuits; Ronald L. Ives. Dec. 40. SOUND MOTION PICTURES Amateur sound film equipment; H. Thiele. Jan. 24. STEREOPHONIC Adapting a Garrard changer to stereo pickups. May 32. Compact two-channel amplifier for stereo systems; C. G. McProud. Aug. 54. Compatible stereo multiplex adapter; Leonard Feldman. Oct. 30, Nov. 42. Compatible stereophonic record ; B. B. Bauer, William S. Bachman, and Peter C. Goldmark. May 26. Convert your Collaro to stereo; Stanley G. Neufeld. Aug. 42. FM/Multiplex converter; Harold R. Day. Aug. 19. For stereothe bi-ortho output circuit; C. Nicholas Pryor. Nov. 22.
How to make a stereo pickup; C. G. McProud. Feb. 17. Improving the performance of stereo disc playback systems; B. B. Bauer. Aug. 34. M-S stereophony and compatibility ; Gerhart Bore and Stephen F. Temmer. Apr. 19. Manufacture of a high-quality cartridge; Ruben B. Carlson. Aug. 30. Monaural, binaural, monophonic, and stereophonic; Harry F. Olson. Sep. 28. New approach to stereo discs; Maximilian Weil. June 28. New electromechanical method of mat rising the two components in stereophonic discrecording; Hans-Joachim Klemp, Horst Redlich, and Stephen F. Temmer. Nov. 26. Phasing in stereophonic recording; William S. Bachman. Nov. 17. Questions and answers on stereo and m/x; Louis J. Kleinklaus. Aug. 20. Stereo compatibility translator; Herbert M. Honig. Aug. 24. Stereo phasing problem; C. G. McProud. Sep. 38. Stereophonic recording and playback amplifier ; Wayne B. Denny. Sep. 24. Toward an optimum stereo cartridge; Herbert H. Horowitz. Oct. 44. Two-way stereophonic amplifier; B. B. Bauer, J. M. Hollywood, and G. P. Maer-
Dec. p. 23.
AUDIO DECEMBER 1968
Concrete Behemoth Speakers. James Ferguson. Mar. p. 21. Exotic Speakers, Al Fanning. July, p. 22. How to Choose Loudspeakers, Al Fanning.
Mar. p. 34. New Speaker System Concept, Bert Whyte. Dec. p. 10. Outdoor Loudspeakers. May, p. 26. Protect Your Loudspeakers with Relays, John R. Kissinger. May, p. 28. Speaker System Buying Guide. Mar. p. 42.
Buyer's Guide to Outdoor Hi-Fi-Batterypowered Tape Recorders. May, p. 23; Tape Cartridges and Cassettes, May, p.
25. Pros and Cons of Cassette Tape, Bert
Whyte. Sept. p. 10. Report on New Low-Speed Tape, Edward Tatnall Canby. Feb. p. 12. State-of-the-Art of Pre-Recorded Tapes, Bert Whyte. June, p. 50. Stereo Eight, Bert Whyte. Aug. p. 8. [Also, see "Professional Recording."] TEST EQUIPMENT Test Equipment Sampler. July, p. 34.
MICROPHONES Microphones for Sound Reinforcement Systems, Arthur C. Davis and Don Davis, Part II, Jan. p. 34; III, Feb. p. 26. MUSIC Benny Goodman rides again, Bertram Stanleigh Feb. p. 36. Boom in LP record reissues, S t u a r t Triff.
May, p. 45. Fall Harvest, Stuart T r i f f. Dec. p. 78. The Cat's Meow homage to Gerald Moore, Edward Tatnall Canby. Jan. p.
48. Dr. Bowes amateur hour, Edward Tatnall Canby. Mar. p. 24. A doctor in the movie house. Robert Sherman. Feb. p. 34. The Duke and associates, B e r t r a m Stan-
leigh. Mar. p. 74. Edison cylinder recordings on LP, Edward Tatnall Canby. Oct. p. 96. Fall Harvest, S t u a r t Triff. Dec. p. 78. How to be your own critic of the new synthesized music, Lewis A. Harlow. Apr. p. 24. Jazz, blues, and the siren song of lung cancer, Bertram Stanleigh. Jan. p. 54. Pearlie Mae's "Dolly," Stuart Triff. Mar. p.
76. Rossini vs. Rossini, Edward Tatnall Canby.
Apr. p. 28. The Recorded "Works,"
Canby. Feb. p. 24. The Ultimate Charles Ives, Edward Tatnall Canby July, p. 47. The 2nd Coming of Erik Satie, Edward Tatnall Canby. Dec. p. 80. PROFESSIONAL RECORDING A r t of the Small Recording Studio, Joseph Giovanelli. Nov. p. 50. Audio Testing in Broadcast Stations, Fred L. Zellner. Nov. p. 54. P r a c t i c a l Aspects of Audio Noise Reduction, Ray M. Dolby, Part I, June, p. 19; II, July, p. 26. Professional Prognostications. Nov. p. 30. Russian Recording Methods, Bert Whyte. Oct. p. 12. Stereo Disc Culling, Albert B. Grundy. Jan. p. 22. The Professional Viewpoint, Bert Whyte.
Nov. p. 8.
TAPE RECORDING B a t t e r i e s for Tape Recorders, Walter Salm.
May, p. 21. Magnetic Tapes, Al Fanning. Oct. p. 46.
DECODERS, FM Early multiplex decoder circuits. Leonard Feldman. Oct., 60, Modern switching circuit decoders. Leonard Feldman. Nov., 58. Time-division or switching-circuit decoders. Leonard Feldman. Sept., 24. ELECTRONIC ORGANS Part V, Keying methods. Jan., 60. Part VI Vibrato and tremolo. Feb., 36. Part VII, Vibrato, tremolo, and percussion. Mar., 32, Part VIII, Side effects, coupling, and reverberation. Apr., 64. Part IX, Conclusion. May, 54. Norman H. Crowhurst. Electrostatic Tweeters, Using, with transistor amplifiers. Robert C. Ehle. Apr., 23. Equalization, detailed, of sound systems. Don Davis. Aug., 36. EQUIPMENT PROFILES ADC stereo pickup system, ADC-25. July, 48. Allied stereo tape deck, TD-1070. Aug., 52. Altec solid-state condenser microphone system, M50. Aug., 56. Ampex stereo tape recorder. Model 1461. April, 54. Astrocom/Mariux stereo tape deck, Model 407. Dec., 64. C-M Labs stereo power amplifier, Model 35D. Feb., 44. C-M Labs stereo preamplifier, Model CC-2. Feb., 46, Concord three-head, four-track stereo tape deck, Mark III. Nov., 66. Crown dual-channel laboratory amplifier, Model DC-300. Oct., 70. Dual automatic turntable, Model 1212. March, 52. Dual automatic turntable, Model 1219. Dec., 67. Dynaco speaker system, Model A-25. Oct., 73. EICO stereo control amplifier, Cortina 3150. June, 40. EICO stereo FM tuner, Cortina 3200. June, 38. Elac stereo cartridge, STS-444E. Jan., 54. Electro-Voice "Aries" loudspeaker system. Oct., 68. Empire stereo cartridge, Model 999-VE. April, 58. Fairfax bookshelf speaker, FX-100. May, 50. Fisher stereo FM/AM receiver, Model 500TX, April, 50. Harman-Kardon speaker system, Model HK-50. June, 50. Heath bookshelf speaker system kit, AS48. July, 44. JBL speaker system, Model C60. Dec., 76. Jensen single-cabinet stereo speaker system, Stereo 1. Nov., 62.
AUDIO DECEMBER 1969
Modern switching-circuit decoders. Leonard Feldman. Nov., 58. More on FM detection. Leonard Feldman. Jan., 58. Receiver alignment. Leonard Feldman, April, 44. Stereo composite signal, The. Leonard Feldman. Aug., 46. Sum and difference in transmission systems. Leonard Feldman. July, 50. Tuning aids. Leonard Feldman. March, 40. Hi-Fi Showsthe missing N.Y. show. Bert Whyte (Behind the Scenes). Oct., 14. How High the Fi? Bert Whyte. (Behind the Scenes.) Oct., 10. IdiophonesThe commonality of speaker systems and musical instruments. Anthony Doschek. Feb., 30. Intermodulation Testsa new use Norman H. Crowhurst. July, 26. for
LAYMAN'S GUIDES Amplifier and Receiver specifications. Mar., 26. Microphone specifications. Aug., 20. Phono cartridge specifications. June, 20. Speaker system specifications. Nov., 22; Dec, 28. Tape recorder specifications. Jan., 25. Tuner specifications. Feb., 21. LOUDSPEAKERS Buying guide. Apr., 26. Column speakers. Victor Brociner. Aug., 31. Don't let speaker phasing faze you. Al Fanning. Apr., 40. How to add electrostatic tweeters to transistor amplifiers. Robert C. Ehle. Apr., 23. Layman's guide to speaker systems. I,
Nov., 22. II, Dec., 38. Single-speaker-enclosure McProud. Oct., 88.
Embellished Baroque. Edward Tatnall Canby. Dec., 80. Four on tape. Edward Tatnall Canby. Sept., 27. Historical stereo. Edward Tatnall Canby. July, 14. Hpschd: Electronic music styles. Edward Tatnall Canby. Oct., 34. Inside the Moog synthesizer. Robert C. Ehle. Dec., 30. Moog Jazz in the garden. Bertram Stanleigh. Nov., 96. More electronic pop sounds. Sherwood L. Weingarten. Oct., 37. Musical glasses. Edward Tatnall Canby. Apr, 16. Orchestral music of China. Edward Tatnall Canby. Aug., 66. Revaluing the 20th Century. Edward Tatnall Canby. May, 14. Rock for all ages. Sherwood L. Weingarten. Nov., 92. 78's Live. James Quigley. June, 35. Sinatra conducts on Wilder reissue. Bertram Stanleigh. Feb., 58. Soul Music panorama. Sherwood L. Weingarten. June, 66. Switched-on rock. Edward Tatnall Canby. Oct., 36. Willie the Lion. Bertram Stanleigh. Jan., 75. MUSICAL INSTRUMENTS The commonality of speaker systems and musical instruments. Anthony Doschek. Jan., 46. Phono cartridges, layman's specifications. June, 20. guide to
Pop recording session. John M. Woram. May, 21. Post recording session. John M. Woram. June, 30. Rock and roll loudness. Bert Whyte. (Behind the Scenes.) Mar., 8. Tape recorder directory. Jan., 34. Tape transport maintenance. H. W. Hellyer. I, Sept., 22; II, Oct., 42; III, Nov., 44; IV, Dec., 46. Why you say it. Webb Garrison. July, 56. RECORDING, VIDEO Directory, Jan., 44. Electronic video recording. Bert Whyte Behind the Scenes). Feb., 8. VTR recording session. Bert Whyte (Behind the Scenes). Sept., 8. SOUND SYSTEMS Facts and fallacies of sound system equalization. Don Davis. Aug., 36. Reinforcement systems. David L. Klepper. Nov., 36. Stereo Broadcasting, brief history of. Leonard Feldman. June, 54. STEREO SYSTEMS Five-channel stereo at home. Ernest Baenninger. Mar., 21. Passive crossover networks for, Blaine B. Kuist. Nov., 52. Tape cartridges, 8-track. Bert Whyte (Behind the Scenes). Jan., 10. Tone control stage, build an IC. Richard Crawford. Nov., 32. Tuners, layman's guide to specifications. Feb., 21.
Amplifiers: Requirements and Specifications. George W. Tillett. Apr., 32. Annual Directory and list of manufacturers. Sept. 22. Additions to annual product directory. Oct., 62, Nov., 54. AUDIO ENGINEERING SOCIETY AES Meeting Highlights. May, 28. Convention highlights. Behind the Scenes, Dec., 12. Audio Transmission Line Equalization. Buck O. Kraft. Feb., 20. Christmas Buying Guide. Nov., 10. Christmas Story. Dec., 18. Concert Hall in the Schmidt. Dec., 20. Home. H. L.
Phono Cartridge Survey. Feb., 36. Outdoor Speaker Directory. June, 26. Receiver and Tuner Directory. May, 36. Tape Recorder Directory. Jan., 36. Dynamic and Electrostatic Headphones. Howard Souther. Dec., 24. EQUIPMENT REVIEWS Acoustic Research FM stereo tuner. July, 49. Acoustic Research loudspeaker, Model AR-2ax. May, 55. Advent noise reduction unit, Model 100. Jan., 49. Annis magnetometer. May, 58. Bogen AM/FM stereo receiver, Model BR-360. May, 52. EICO I M / H D distortion meter, Model 92. Sept., 86. EPI loudspeaker, Model 50. Oct., 58. Fisher AM/FM stereo receiver, Model 201. June, 54. Garrard automatic turntable, Model Zero 100. July, 46. Harman-Kardon preamp/equalizer, Model Citation 11. Jan., 46. Heath A M / F M stereo receiver, Model AR-1500. Dec., 52. Heath oscilloscope, Model I0-102. Sept., 88. KLH tape deck, Model 41. Apr., 46. Logiclock electronic digital clock. Sept., 87. M a r a n t z FM stereo receiver, Model 19. Mar., 60. Metrotec frequency equalizer. Apr., 50. Addenda. June, 56. N i k k o stereo amplifier, Model TRM1200. July, 44. Panasonic A M / F M stereo receiver, Model SA-6500. Nov., 38. Panasonic turntable, Model SP-10. Aug., 42. Phase Linear amplifier. June, 57. Pioneer AM/FM stereo receiver, Model SX-9000. Aug., 38. Pioneer A M / F M stereo tuner, Model TX-900. Apr., 48. Rabco turntable, Model ST-4. Nov., 50. Realistic music/sound level meter. July. 51. Rotel AM/FM stereo tuner, Model RT320. Dec., 60.
Condenser Microphone, Case for the. Richard Fowle. July, 26. CONSTRUCTION PROJECTS Build Your Own Tape Eraser. Donald R. Hicke. Jan., 30. IC Tone Burst Generator. Walter G. Jung. 1, Nov., 25; 2, Dec., 30. Improved Headphone Listening. Siegfried Linkwitz. Dec., 42. Killer Thing. Jim Ashe. Jan., 32. Madsen-System Delay Tube, Construction of. Duane H. Cooper. 1, Apr., 18; 2, May, 48. Ten-Watt Stereo Amp., Constructing a. Dwight V. Jones. May, 30. Wide-Range Sweep Oscillator. Michael Lampton. July, 30.
AUDIO DECEMBER 7 1
AMPLIFIERS A 700-Watt Amplifier Design. Robert W. Carver. Feb., 24. Intermodulation Distortion: A Powerful Tool for Evaluating Amplifiers. Gerald Stanely & David McLaughlin. Feb., 36. New Amplifiers and Preamplifiers. Feb., 47. Testing Amplifiers with a Bridge. Andrew R. Collins. Mar., 28. Annual Product Directory and List of Manufacturers. Sept., 28. Addenda. Nov., 52. Binaural Sound, Audience Involvement Through Use of. Billy Brant. Nov., 34. C.E.S. New Products At. Aug., 30. Christmas Buying Guide. Nov., 54. Christmas Story. T.W.G. Dec., 34. CONSTRUCTION PROJECTS Acoustic Feedback Loudspeaker System. Curtiss R. Schafer. Jan., 32. Dynaquad Four-Dimensional System, A Simple Matrix-Type Unit for the. Erno Borbely. May, 42. Equalizer, Constructing a Room. Dick Crawford. Sept., 18. Preamplifier, A Quiet Phonograph. James P. Holm. Oct., 34. Tone Burst Generator, Part III-Check Out and Operation. Walter Jung. Jan., 42. VU Meter, A Peak-Reading, with Compensation for Tape Saturation. E.A. Ballik. Oct., 48. Diamond Styli, A New Concept in. Hedi Benz. Aug., 33. DIRECTORIES AND SURVEYS New Amplifiers and Preamplifiers. Feb., 47. Annual Product Directory and List of Manufacturers. Sept., 28. Addenda, Nov., 52. Cassette Deck Survey: 16 Models Tested. Oct., 56. Loudspeaker Directory. Mar., 38. Microphone Directory. Dec., 36. New Receivers and Tuners. Jan., 38.
Small Speaker Survey: 14 Models Tested. Sept., 101. Open-Reel Tape Recorder Directory. April, 46. Turntables: Capsules of Past Reviews. June, 46. Turntable Directory. June, 48.
Dynamic Noise Filter For Mastering. Richard S. Burwen. June, 29. Equalization of Sound Reinforcement Systems. Daniel Queen. Nov., 18. EQUIPMENT PROFILES Acoustic Research AR-6 loudspeaker. Jan., 62. Acoustic Research AR-LST loudspeaker. Dec., 58. Advent smaller loudspeaker. Dec., 65. Audio Dynamics Corp. XLM phono cartridge. July, 53. BIX/LUX 71/3R AM/FM stereo receiver. Feb., 50. BSR McDonald 810 automatic turntable. June, 56. B&W 70CA loudspeaker. Aug., 46. Beyer DT-480 headphones. Mar., 66. Crown IC-150 preamplifier and D-150 amplifier. Jan., 48. Dual 1218 automatic turntable. Jan., 56. Dynaco SCA-80Q amplifier. July, 48. Dynaco FM-5FM tuner. Oct., 72. Eastman Sound Matrin Crescendo 430 loudspeaker. Oct., 74. Fisher 801 AM/FM quadraphonic receiver. July, 44. Foster (Ercona) RDF-224 headphones. Mar., 64. Harman-Kardon 930 AM/FM receiver. June, 52. Harman-Kardon Citation 13 loudspeaker. May, 69. Harman-Kardon Citation 14 FM tuner. Dec., 54. Heath AJ-1500 FM tuner. May, 71. Lafayette LA-524 SQ decoder/amplifier. July, 40. Lenco L-75 manual turntable. July, 52. Marantz 250 basic amplifier. June, 58. Marantz Imperial 6 loudspeaker. April, 52. Miracord 50 H-II automatic turntable. May, 66.
46. J.I.L. 605 Car Radio, July, 26. JVC 4VR-5426X Receiver, Aug., 47. Kensonic C-200 Control Amplifier, P-300 Basic Amplifier, Mar., 49. Kenwood KP-5022 Turntable, Sept., 65. Kenwood KX-710 Cassette Deck, Apr., 65. Koss HV/1A Headphones, Dec., 68. Marantz 125 Tuner, Feb., 54. Nakamichi 500 Cassette Deck, Nov., 62. Nakamichi Large Reference Monitor Speaker System, Dec., 72. Panasonic CQ-999 Car Radio, July, 28. Phase Linear 4000 Preamplifier, Nov., 58. Philips RH-532 Speaker System, Apr., 67. Pickering XUV/4500Q Phono Cartridge, Nov., 71. Pioneer KP-301 Car Radio, July, 30. Pioneer CT-F7171 Cassette Deck, Nov.,72.
Polk Nine Speaker System, May, 36. R a d i o S h a c k S T A - 5 Receiver, Dec., 46. SAE Mk IIICM Basic Amplifier, Jan., 61; Addendum, Aug., 69. Sansui 881 Receiver, Apr., 55. Scott R77S Receiver, May, 32. Sharp RT-480U Cassette Recorder Addendum, Jan., 65. Sherwood 7210 Receiver, July, 34. Shure M-64 Preamplifier, Feb., 61. Sony TC-755 Open-Reel Tape Deck, Sept., 67. Soundcraftsmen PE-2217 Equalizer, Mar., 36. Supex SD-900/E Phono Cartridge, Sept., 60.
AUDIO DECEMBER, 1975
Sylvania AS-210A Speaker System, Aug., 63. Technics by Panasonic RS-676 Cassette Deck, May, 72. Technics by Panasonic T-400 Speaker System, Dec., 54. Technics by Panasonic SA-8500X Receiver, Mar., 31. Wollensak 8080 8-track Cartridge Deck, Aug., 52. Yamaha B-1 Basic Amplifier, Aug., 56. Yamaha CR-1000 Receiver, Jan., 44. Yamaha CT-7000 Tuner, Dec., 64. Yamaha YP-701 Automatic Turntable, June, 52.
Basics of Turntables, David L. Josephson, June, 26. Adopt/on of the Westrex 45/45 System, Ralph W. Wight, Mar., 24.
FTC Ruling On Amplifiers FTC Wattage Ratings: An Optimistic View, Brian Wachner, Feb., 22. FTC Wattage Ratings: An Alternative View, Robert Tucker, Feb., 30. How Valid is the FTC Preconditioning Rule?, Joseph DeMarinis, Sept., 30. Headphones Dual Impedance Headphone Circuit, D. A. Kerr, May, 24. Piezoelectric Principle in Headphones, Martin Clifford, May, 28. Language of High Fidelity, Part XIII, Martin Clifford, Dec., 38. Miking With The Three-Point System, Dec., 28. Quadraphony What Do You Really Hear in Quadraphony?, Daniel Shanefield, Nov., 44. Up-Date: Musings on the Four-Channel Scene, George W. Tillett, Nov., 36. Record CleanersDo They Really Work? B. V. Pisha, Mar., 20. Loudspeaker Systems Earthquake Sound System, C. J. Czerwinski and G. R. Lewis, Apr., 46. Motional Feedback in Loudspeaker Systems, George W. Tillett, Aug., 40. Speaker Tests, Richard C. Heyser; Polar Response, May, 30; Room Test, Jan., 66. A. N. ThieleSage of Vented Speakers, Ray J. Newman, Aug., 30. Recording at Home Through the Years, George Blacker, Apr., 28. Sun Ra, The Many Worlds of, Tom Bingham, Mar., 56. Syn-Aud-ConAudio Toolmaker, Carolyn P. Davis, Sept., 54. Making Tape, Joseph Kempler, Apr.,
Clarion PE-666A Cassette/AM/FM Car Stereo, July 68. db Systems DB-1 Preamplifier & DB-4 Moving Coil Pre-Preamp, May, 72. dbx 128 Dynamic Range Enhancer, Nov., 106. Dual 1249 Automatic Turntable, Feb. 70. Dynaco SE-10 Equalizer, April, 67. Fosgate PR-7000 Audio Amplifier, July, 56. Garrard GT55 Turntable, April, 72. Hartley Zodiak 76 Loudspeaker, June, 72. J.I.L. 615 CB/AM/FM/MPX Radio/Stereo Cassette Player, July, 62. Jensen 530 Loudspeaker, July, 84. Lirpa I Receiver, April, 60. Lux MB-3045 Amplifier, Nov., 80. Marantz 510M Basic Amplifier, March, 72. McIntosh C-32 Stereo Preamplifier/Control, Dec., 70. McIntosh MC-2205 Power Amplifier, Sept., 70. McIntosh MR-78 Tuner, Feb. 66. Mitsubishi DA-F10 Tuner, Dec.,102. Nakamichi 630 Tuner-Preamplifier, Sept., 77. Nikko 9095 Receiver, Jan., 42. Optonica RT-3535 Cassette Deck, Aug., 78. Philips AH-572 Preamplifier, Nov., 64. Pickering XSV/3000 Phono Cartridge, June, 100. Pioneer SX-1250 Receiver, Jan., 64. Pioneer 510A Turntable, Aug., 77. Pioneer RT-2022 Open-Reel Tape Deck, Sept., 66. Pioneer TX-9500-II Tuner, May, 66. Rabco ST-7 Turntable, Jan., 74. Radio Shack STA-2000 Receiver, March, 62. Russound FMP SP-1 Switching Center, Nov., 112. SAE 5000 Impulse Reduction System, June, 86. Sansui BA-5000 Amplifier, Nov., 100. Scott R-376 Receiver, June, 64. Sherwood Micro/CPU 100 FM Tuner, Nov., 70. Shure 516EQ Microphone, April, 76. Sonus Blue Phono Cartridge, April, 70. Soundcraftsmen TG-2209-600 Graphic Equalizer, Nov., 88. Sony TAE-5450 Preamplifier, March, 66. Sony STR-6800SD Receiver, Aug., 66. Tandberg TCD-330 Cassette Deck, Aug., 71. Tannoy Berkeley Loudspeaker System, Dec., 80. Technics SA-5760 Receiver, Jan., 64. Technics RS-1500US Open-Reel Tape Recorder, May, 80. Technics SL-1350 Turntable, June, 82. Yamaha CR-2020 Receiver, June, 90. Filters Build A Simple Pink-Noise Filter, Dr. Robt. Mauro, March, 36.
AUDIO December 1977
Headphones What You Don't Know Hurts, Jacob C. Turner, May, 32. Hearing Perception & Geometry, Richard C. Heyser, June, 52. The Physiology of Hearing, Dr. A. Joseph Ray Jr., Ph. D. May, 54. History Movie Sound Reproduction, Milliard, March, 44. Thirty Years of Audio, Eisenberg, May, 48. John K Norman
Preamplifiers Build a Low-Noise Preamp With Weighting Filters, M.J. Salvati, May, 38. Cheap & Dirty Inverse RIAA/Square Wave Generator, Dennis Bohn, Feb., 65. Construct a Wide-Band Preamp, W. Marshall Leach, Feb., 38. Dynamic Range Requirements of Phonograph Preamplifiers, Tomlinson Holman, July, 72. New Tests for Preamps, Tomlinson Holman, Feb., 58. Records Iron Curtain Records, Greg Morrow, June, 44. The Sheffield Story, Andrew P. Teton, Jan., 34. Square Wave Generator Cheap & Dirty Inverse RIAA/Square Wave Generator, Dennis Bohn, Feb., 65. Tape Fighting Distortion on Tape, Wayne Saylor, April, 34. Open Reel vs. Cassette, Herman Lia, April, 28. Thinking About Print-Through, William Manly, Sept., 54. Three Car Components Tested, Leonard Feldman, July, 56. Tonearms Tonearm Design and Other Joseph F. Grado, Aug., 28.
Sony CDP-701ES Compact Disc Player, Sept., 50. Technics SL-P10 Digital Audio Disc Player, Feb., 48. Toshiba XR-Z90 Compact Disc Player, Dec., 66.
Addenda First Look: Sony's Digital Compact Disc Player, Leonard Feldman (Nov. 1982, 36), Jan., 64. Build a High-Performance THD Analyzer, Robert R. Cordell (Part I, July 1981, 34; Part II, Aug. 1981, 14; Part III, Sept. 1981, 52; Addenda, Nov. 1981, 14), Feb., 16. Tonearm Geometry and Setup Demystified, Martin D. Kessler and B. V. Pisha (Jan. 1980, 76; Addenda, April 1980, 26), May, 48. Amplifiers & Preamplifiers Build a Stereo Headphone Amplifier, Paul D. Chapman, May, 62. Battle of the Amps (Denon PRA-6000 Preamplifier and POA-8000 Amplifier, Sony Esprit TA-E900 Preamplifier and TA-N900 Amplifier), Leonard Feldman June, 56. Antennas & FM 11 Outdoor FM Antennas Measured, Leonard Feldman, Jan., 40. WFMT: Satellite Superstation, Rich Warren and Daniel Queen, Feb., 42. Book Reviews 21 Custom Speaker Enclosure Projects You Can Build, May, 89. The Complete Handbook of Magnetic Recording, May, 89. How to Install Your Own Stereo System, Second Edition, May, 90. Radio Shack Catalog, Dec., 30. Saga of the Vacuum Tube, Dec., 106. How to Make & Sell Your Own Record, Dec., 106. The Musician's Guide to Independent Record Production, Dec., 106. Car Stereo Car Stereo Directory, July, 10. Drive Your Walkman 'Round the Block, Richard Boryczewski, July, 70. Cassettes & Cassette Decks Noise reduction: Side Benefits & Side Effects, Howard A. Roberson, April,
Mass Tape Test: 77 Cassettes Rated, Howard A. Roberson, Sept., 34. Computers & Audio Computer-Aided Filter Design, Richard Kaufman. Nov., 28. Computer-Aided Audio Calculations, Leonard Feldman, Nov., 32. TDS Computing, Gerald R. Stanley, Nov., 38. Construction Projects How to Build a Low-Cost Stereo Enhancer, Richard J. Kaufman, May, 58. Build a Stereo Headphone Amplifier, Paul D. Chapman. May, 62. Build a Poor-Man's Wow & Flutter Meier, M. J. Salvati, June, 64. Drive Your Walkman 'Round the Block, Richard Boryczewski, July, 70. New Lows in Home-Built Subwoofers, Lorr Kramer and Greg Timbers, Aug., 58. Build a Center-Woofer Crossover, M. J. Salvati, Aug., 65. Computer-Aided Filter Design, Richard Kaufman, Nov., 28. Digital Sound & Equipment Japan Fair: The Art Advances, Gene Pitts, March, 32. Confessions of a Digital Recordist, Richard S. Burwen, Dec., 46. Hitachi DA-1000 Digital Audio Disc Player, Jan., 50; Postscript, May, 88. Kyocera DA-01 Compact Disc Player, Aug., 70. Magnavox FD1000SL Compact Disc Player, June, 86. Mitsubishi DP-101 Compact Disc Player, Aug., 82. NEC CD-803E Compact Disc Player, Nov., 50. Phase Linear 9500 Compact Disc Player, June, 76. Sharp DX-3 Compact Digital Audio Disc Player, March, 44. Sony CDP-101 Digital Audio Disc Player: Postscript, Jan., 64. Sony PCM-701 Digital Audio Processor, April, 60.
HG, 500 Crolyn, 500 Crolyn HG, and 1100 Metal HG Cassette Tapes ("Cassette Test Update"), June, 74. Pioneer PD-9010X Compact Disc Player, Feb., 78. Pioneer PD-M6 ("Four Multi-Disc CD Players"), June, 62. Proton D940 Receiver, July, 86. RAKS High Dynamic, High Dynamic I, and High Dynamic II Cassette Tapes ("Cassette Test Update"), June, 74. Revox B225 ("Auricle: One Listeners CD Player Survey"), Jan., 120, Revox B286 Tuner/Preamplifier, Dec., 102. Robertson Sixty Ten Amplifier, Feb., 52. Scotch CX, XCI, XSII, and XSMIV Cassette Tapes ("Cassette Test Update"), June, 74. Sherwood CRD-180 Car Stereo, May, 72. Shure SM91 Microphone, June, 122.
SME V Tonearm and Talisman Virtuoso DTi Cartridge, June, 88. Sony D-5 ("Auricle: One Listener's CD Player Survey"), Jan., 120. Sony CDX-A10 ("Four Multi-Disc CD Players"), June, 62. Sony HF, HF-S, UCX, UCX-S, and Metal-ES Cassette Tapes ("Cassette Test Update"), June, 74. SOTA Star Sapphire Turntable, June, 98. Soundstream TC 308 Car Stereo, Sept., 66. Talisman Alchemist IIIS ("Auricle: A Clutch of Cartridges"), Feb., 86. Talisman Virtuoso DTi Cartridge and SME V Tonearm, June, 88. Tandberg 3008A Preamplifier and 3009A Amplifier, June, 68. TDK D, AD, SA, SA-X, and HX-S Cassette Tapes ("Cassette Test Update"), June,
74. Technics EPC-205CMk4 Cartridge, Jan., 78. Technics EPC-305MCII Cartridge and SH305MC Transformer, Aug., 56. Technics SH-8066 Equalizer, Nov., 94. Terk 8403 FM Antenna, Jan., 89. Triad FX, EM-X, and MG-X Cassette Tapes ("Cassette Test Update"), June, 74. Uher CR 160 AV Portable Cassette Recorder, Jan., 104. Yamaha CD-2 ("Auricle: One Listener's CD Player Survey"), Jan., 120. Yamaha CD-3 ("Auricle: One Listener's CD Player Survey"), Jan., 120. Yamaha K-1020 Cassette Deck, March, 68. Yamaha YGE-600 Car-Stereo Equalizer ("Auricle"), May, 81. Zeta Standard Tonearm and Goldbug Clement II Cartridge, Dec., 90.
Jerry Leiber & Mike Stoller, Ted Fox, Part I, Nov., 52; Part II, Dec., 54. Lirpa The Lirpa Turbo Steamtable, Prof. I. Lirpa and Ivan Berger, April, 42. Lirpa Distortek J-X33B Rack System ("Auricle"), April, 80. London Letter Masterful Remastering ("Jazz Classics in Stereo"), Donald Aldous, Nov., 9. Loudspeakers Confessions of a Loudspeaker Salesman Harold Weinberg and Robert Angus, March, 48. Measurements Femtowatts Take Over, Leonard Feldman, Nov., 80. Microphones Matching a Mike, Howard A. Roberson, Aug., 40. Music Performance & Recording Fitting Revivals: The Mosaic Reissues, Frank Driggs, June, 136. Zydeco Music: Hat as a Pepper, Ted Fox, Sept., 42. London Letter: Masterful Remastering ("Jazz Classics in Stereo"), Donald Aldous, Nov., 9.
Amplifiers Understanding Common-Mode Signals, R. N. Marsh, Feb., 58. An Informal History of Car Amps, John R. Bishop, May, 37. An Informal History of Solid-State Amps, Daniel Sweeney and Steve Mantz, June, 46. Book Reviews Introduction to Professional Recording Techniques by Bruce Bartiett, Sept., 36. Audio Production Techniques for Video by David Miles Huber, Sept., 36. The Audio Dictionary by Glenn D. White, Sept., 36. The Loudspeaker Design Cookbook. Third Edition by Vance Dickason, Sept., 42. The Jazz Years: Earwitness to an Era by Leonard Feather, Oct., 53. Benny Goodman: Listen to His Legacy by D. Russell Connor, Oct., 53. Remembering Buddy by John Goldrosen and John Beecher, Oct., 54. A Life in Jazz by Danny Barker, Oct., 54. Grounding and Shielding Techniques in Instrumentation, Third Edition by Ralph Morrison, Dec., 57. Noise Reduction Techniques in Electronic Systems, Second Edition by Henry Ott, Dec., 57. Total Harmonic Distortion by Charles Rodrigues, Dec., 59. Car Stereo An Informal History of Car Amps. John R. Bishop, May, 37. Power to the People: Build a Car Subwoofer, Richard A. Frank, May, 44. 14th Annual Car Stereo Directory, May, 101. 4 x 4 By Two, Ivan Berger, Nov., 72. Construction Projects Power to the People: Build a Car Subwoofer, Richard A. Frank, May, 44.
Build an Active Filter, Richard J. Kaufman, July, 44. Build a High-Blend Control, Richard J. Kaufman, July, 47. Speakers By Design, Ken Kantor, Part I, Nov., 64; Part II, Dec., 72. Digital Sound & Equipment Deciding on DAT: Witness of the Persecution, Barry Fox, March, 40. Forum: Philips' holly, Leonard Feldman, April, 16. Forum: "DATs de Breaks," Leonard Feldman, May, 30. Forum: Pop Goes the Problems, Leonard Feldman, Aug., 24. Crest Factors of CDs, Leonard Feldman, Dec., 96. Directories Car Stereo Directory, May. Introduction, 101; DAT Players, 101; Amps/Equalizers, 102; Compact Disc Players, 110; Radios/Tape Players, 111; Speakers, 123; Company Addresses, 145. Annual Equipment Directory, Oct. Introduction, 139; DAT Recorders, 142; CD Players & D/A Converters, 146; Amplifiers, 172; Preamplifiers, 206; Tuners, 222; Receivers, 228; Turntables, 242; Tonearms, 252; Phono Cartridges, 255; Cassette Decks, 268; Open-Reel Tape Decks, 276; Blank Tape, 276; Microphones, 281; Headphones, 298; Equalizers, 304; Ambience & Surround Sound Processors, 308; Signal Processors, 310; Crossovers, 316; Hi-Fi VCRs, 320; Loudspeakers, 324; Company Addresses, 439. Equipment Profiles/Auricles Akai AD-93 Digital Audio Tape Recorder, June, 68. Akai AT-93 Tuner, Dec., 128. AR TSW 115P Powered Loudspeaker ("Auricle"), Dec., 156.
A U D I O / D E C E M B E R 1993 136
A.C. POWER That Mysterious Source: The A.C. Power Line, Edward M. Long, June, 34. Power Disturbances, Susan Owen, June, 38. ADDENDA Equipment Profile: DGX Audio DDL-1 Loudspeaker and DDA-1 Digital Processing Amplifier (Nov. 1993, 48), Jan., 8. Equipment Profile: Digital Phase AP-1 Loudspeaker (Dec. 1993, 66), March, 8. Equipment Profile: NHT Model 3.3 Loudspeaker (Feb., 49), July, 6. BOOK REVIEWS Theory and Design of Loudspeaker Enclosures by J. E. Benson, Jan., 33. Nothing But the Blues, edited by Lawrence Cohn, July, 16. Audition by Pierre Buser and Michel Imbert (translated by R. H. Kay), July, 17. Understanding Music with AI: Perspectives on Music Cognition, edited by Mira Balaban, Kemal Ebcioglu, and Otto Laske, July, 18. Electrostatic Loudspeaker Design and Construction by Ronald Wagner, Sept., 13. CABLES & WIRES Auto Speaker Polarity, Fred E. Davis, June, 40. Speaker Cables: Measurements vs. Psychoacoustic Data, Edgar Villchur, July, 34. CAR STEREO Roadsigns (Dodge Intrepid, Chrysler Concorde, and Eagle Vision with Infinity Spatial Imaging sound system), Ivan Berger, Jan., 38. Roadsigns (Lexus/Pioneer and Lexus/Nakamichi sound systems), Ivan Berger, Feb., 22. 20th Annual Car Stereo Directory, May, 37. Auto Speaker Polarity, Fred E. Davis, June, 40. DIGITAL TECHNIQUES Sound Conditioning Through DSP, Daniel Sweeney, March, 24. Digital Film Sound: Rated S for Sound, E. Brad Meyer, June, 44. Currents (Pioneer CLD-A100 CD/LaserDisc player, with LaserActive game module), John Eargle, Aug., 17. Spectrum (two-layer optical discs), Ivan Berger, Aug., 20. Digital Radio, John Gatski, Sept., 34.
Currents (video data reduction), John Eargie, Nov., 20. The Audio Interview: Tom Stockham, Daniel Levitin, Nov., 38. Video CD: A Coding Challenge, Robert A. Finger, Dec., 38. DIRECTORIES Car Stereo Directory, May. DCC & MD Players, 37; Ambience & Surround Sound Processors, 38; Amps/Equalizers, 41; Radios/Analog Tape Players, 60; CD Changers & D/A Converters, 69; InDash CD Players, 72; Speakers, 75; Company Addresses, 127. Annual Equipment Directory, October. Introduction, 72A; CD Players & Transports, 74; D/A Converters, 84; Amplifiers, 94; Preamplifiers, 128; Tuners, 146; Receivers, 149; Turntables, 158; Tonearms, 160; Phono Cartridges, 162; Headphones, 168; DAT, DCC, & MD Player/Recorders, 174; Analog Cassette Decks, 175; Blank Tapes & Discs, 178; Equalizers, 180; Ambience & Surround Sound Processors, 184; Signal Processors, 190; Crossovers, 192; Loudspeakers, 196; Company Addresses, 320. ELECTRICAL NOISE That Mysterious Source: The A.C. Power Line, Edward M. Long, June, 34. Power Disturbances, Susan Owen, June, 38. EMERGING TECHNOLOGIES Sound Conditioning Through DSP, Daniel Sweeney, March, 24. Digital Film Sound: Rated S for Sound, E. Brad Meyer, June, 44. Spectrum (AM radio news), Ivan Berger, July,
Cartridges, 109; Headphones, 114; Cassette Decks, 118; Digital Player/Recorders, 120; Equalizers, 123; Surround Sound & Ambience Processors, 124; Signal Processors, 130; Crossovers, 132; Speaker Cables, 134; Loudspeakers, 146; Company Addresses, 260. EMERGING TECHNOLOGIES Fast Fore-Word (Parametric Acoustic Modeling speaker design), Michael Riggs, March, 6. Spectrum (blue lasers), Ivan Berger, April, 19. Deep Thoughts on Shallow Speakers, Ivan Berger, April, 37. Spectrum (IEEE-1394 bus), Ivan Berger, May, 19. Convergence Gets Convincing: The Synergy of Home Theater and Home Computing, Ivan Berger, May, 39. Spectrum (IEEE-1394 vs. USB 2.0), Ivan Berger, July/August, 21. Spectrum (songs by cellular), Ivan Berger, Sept., 29. Spectrum (new microphone designs), Ben P. Stein, Nov., 27. EQUIPMENT REVIEWS ADA Cinema Reference A/V Preamp, July/August, 45. Acurus DIA 150 Integrated Amplifier, Sept.,
36. Adcom GCD-750 CD Player, March, 66. Anthem MCA 5 Five-Channel Power Amplifier, Sept., 101. Arcam Alpha 9 CD Player, April, 59. Arcam Alpha 9C Preamplifier, July/August, 64. AudioControl C-101SE Equalizer/Analyzer,
DVD Spectrum (James Taylor live on DVD), Alan Lofft, Jan., 22. Fast Fore-Word (DVD-Audio update), Michael Riggs, May, 4. Spectrum (DVD recorders), Ivan Berger, June, 23. DVD-Audio Gets the Green Light, Edward J. Foster, Sept., 30.
DIGITAL TECHNOLOGY & TECHNIQUES Front Row (DSP and home studio recording), Corey Greenberg, Jan., 33. Fast Fore-Word (digital recording and frequency response), Michael Riggs, Feb., 6. Front Row (the art of remastering), Corey Greenberg, Feb., 27. Home Recording for the Digital Millennium, Daniel Kumin, Feb., 32. Spectrum (IEEE-1394 bus), Ivan Berger,
May, 19. Spectrum (IEEE-1394 vs. USB 2.0), Ivan Berger, July/August, 21. DVD-Audio Gets the Green Light, Edward J. Foster, Sept., 30. Super Audio CD: Evolutionary or Revolutionary?, Edward J. Foster, Nov., 40.
DIRECTORY Annual Equipment Directory, October Introduction, 29; CD & DVD Players, 32; D/A Converters, 48; Amplifiers, 52; Preamplifiers, 80; Tuners, 100; Receivers, 102; Turntables, 106; Tonearms, 108; Phono
June, 48. Audio Refinement Complete Integrated Amplifier, April, 55. B&W Nautilus 802 Speaker, Feb., 51.
A U D I O / D E C E M B E R 1999
B&W WP1 Indoor/Outdoor Speaker ("PlayBack"), July/August, 88. B&W DM605 S2 Speaker, Sept., 41. Bag End MM-8H Satellites and Infrasub-18 Powered Subwoofer, Jan., 59. Blaupunkt Alaska Car CD Receiver, May, 63. Bryston 9B-ST Five-Channel Power Amplifier, June, 58. Cambridge SoundWorks Model 88 Table Radio ("PlayBack"), Jan., 108. Cambridge SoundWorks Desktop Theater 5.1 ("PlayBack"), March, 88. Castle Severn 2 Speaker, Dec., 91. Cinepro Professional PowerPro 20 Line Conditioner, Jan., 86. Coincident Speaker Technology Triumph Signature Speaker, July/August, 51. conrad-johnson Premier 12 Mono Amplifier and Premier 16LS Preamplifier, June, 63. Creek 4330SE Integrated Amplifier, Feb., 77. DeHavilland Aries SE Mono Amplifier ("PlayBack"), April, 88. Denon AVR-3300 A/V Receiver, Nov., 76. Dunlavy Audio Labs SC-V Speaker, March, 69. E.A.R. V20 Tube Integrated Amplifier, Jan., 71. Eminent Technology LFT-11 Computer Sub/Sat System ("PlayBack"), May, 88. Fostex CR-200 CD Recorder ("PlayBack"), March, 88. Grado Labs Reference Phono Cartridge ("PlayBack"), April, 88. Grado Reference RA-1 Headphone Amplifier, Nov., 82. Hales Design Group Transcendence Eight Speaker, July/August, 68. Harman/Microsoft Take Control Remote ("Front Row"), March, 23. Hsu Research VTF-2 Powered Subwoofer, Nov., 59. JMlab Cobalt 820 Speaker, March, 49. Jolida JD 301A Integrated Amplifier ("PlayBack"), May, 88. Kenwood VR-2090 A/V Receiver, Feb., 59. Krell KPS 25s CD Player/Preamp, Jan., 79. Krell KAV-300r Receiver, Sept., 71. Legacy Audio Studio Speaker ("PlayBack"), June, 88. Mark Levinson No. 360S D/A Converter, June, 66. Lexicon MC-1 A/V Preamp, Sept., 63.
MES-330 Igo 8 Avaya 1608 Singer 128 Deluxe Yamaha R100 F70 EXR HM 935 Aastra 8314 A1000IS WV-DR5 Dimage S414 Mamiya 7 OW50003 Routes FMS40X AWT1256AA HT-150 37PFL5604H Pola Plus Audition 3 AVR350 J1000 MIO H610 ZR-5700 UX-107A Ascent Blackberry 8110 Server HT-K25 DC C850 BDV-IT1000 CDX-R3310 12 Plus Desktop Mp8745 Silhouette 1994 SX-KN920 Av Receiver EW957F Coupe CDP-CX55 Aswqlgu EL531V Iphone Manual 550 RA And VST Phonefax 2625 Pltv-27M LSJ092V-3 DGS-3324SRI NV-DS28B Paparazzi R-300X Espio 738 I845 TDP-S35 RL41wcps HFC22 08A Yamaha PSR3 FSG-3 Linge 130 2 Motorola W205 B7300 SA3085 Consoles XL4 LC-37D5U MG220D 29FB5RNX U8668-D GC-051SA Edirol R1 IC-M505 FS-1501 EW559F 14 Plus Zoom 8080 BA410 105 UHF MF-FE421 LV-107U Camera 6842THG PCG-NV309 Remote DCR-DVD403E VSX-1020-K SLV-SE800B LI 3710 BH-214 Specs Price IT-50 1922 CV 4X4 VAN HD160JJ-SCC KX-TG7302FX Dimage XT 20003 Psone Cruise 36PW9525 12 Workstation
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